Representations of non-normative genders and sexualities are nothing new in digital games. In the past I have written on the cultural production dynamics that help explain some of this relative lag in representation. Since writing that piece, there has been significantly more popular and academic attention to queer content in games, as I discuss here. Here I use optional relationships and gender options in the game series Fable as a entry point into the complex dynamics of gender and sexuality in games as texts and structures. Games are different from other media texts in key ways however.
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It is the sequel to Fable and Fable: The Lost Chapters , it was originally announced in and released in October A compilation of the game, and its two downloadable content packs, was released on 24 October , titled the "Game of the Year" edition. The game takes place in the fictional land of Albion , five hundred years after Fable' s original setting, in a colonial era resembling the time of highwaymen or the Enlightenment. Guns are still primitive, and large castles and cities have developed in the place of towns. There are both interactive and non-interactive cutscenes in the game.
I had an unexpected amount of video game time to fill, this past weekend. After an hour of Bastion and an hour of Chrono Cross I cast about for something new, feeling at odds. What I really wanted to play was Mass Effect 3 , and that's physically impossible for another six months. I tried other games as a distraction but none of them actually satisfied my craving, no more than a bag full of carrot sticks actually satisfies a craving for a bag of chips.